Magnificently Illuminated Manuscript from the Early Gothic Period

The most splendid manuscript of the Revelation to John that Gothic art brought forth has been preserved for centuries in the library of Trinity College, Cambridge. Since 1660 the Trinity Apocalypse, which originated in the mid-thirteenth century, has belonged to this valuable collection.
Its richly coloured miniatures embellished with finely tooled gold are unparalleled among English apocalypses. But not only the rich decoration is exceptional: the French version of the Revelation with an exegesis of John's visions adapted especially to this manuscript is one of a kind.

A Book of Inspiration

Apocalypses are prophecies about the end of time and the Last Judgement made known in wondrous ways. Divinations of this kind occurred again and again, but the Revelation to John is the only one included in the New Testament. Using mysterious images and striking language, John describes the end of the world and the Last Judgement. Yet terror is not the focus of this vision: the Revelation to John is a book of consolation and inspiration.

Lavish Splendour with Finely Tooled Gold

Even amongst the splendid English apocalypses, the magnificent Trinity Apocalypse stands out as the culmination of manuscript illumination in the Early Gothic period. The rich decoration of this codex is unique. Seventy-one large-format miniatures with over one hundred individual pictures on sixty-two pages and a lavish use of tooled gold leaf contribute to the splendour and beauty of this manuscript.
The intense effect that radiates from the miniatures is achieved by the harmonious combination of colours. The expert use of a wide variety of colours, such as ultramarine and indigo in the blue tones, at times soft and then again brilliant, create the impression of movement and liveliness. The use of silver, now oxidized, and the rich application of gold contribute to the magical splendour of the Trinity Apocalypse

A Picture Book of the Revelation to John

Each of the more than hundred pictures of the Trinity Apocalypse was painted with the greatest attention to detail. Since all of John's visions are portrayed in the miniatures, it is as if the reader is paging through a picture book of the Book of Revelations. The artists have succeeded to an unusual degree in creating an individualistic portrayal of all the figures in the miniatures. The expressive faces of the figures inevitably invite the viewer to pause and reflect.

Dramatic as the Adventures from a Romance of Knighthood

In many of the miniatures illustrating John's visions, kings, knights and noblewomen, all splendidly armed and attired, appear. Portrayed with great dramatic power, they could be part of a romance of chivalry.
The richly embellished illuminations and the depiction of the chivalric ideal underpin the hypothesis that the codex was intended for the highest aristocratic circles. The courtly lady who is frequently depicted in the miniatures is thought to be the patron of the Trinity Apocalypse. Scholars assume that it is Eleanore of Provence, the wife of King Henry III. Perhaps it was she who had the splendid manuscript embellished with gold leaf.

John's Vita: An Innovative Idea Becomes a Model

The Trinity Apocalypse begins and ends with a picture gallery, framed with resplendent gold borders, illustrating the story of John's life. The idea of framing the Revelation to John with the vita of the author was an absolute innovation in the history of book illumination.
The idea became so popular that all English Apocalypse manuscripts of the late thirteenth century followed this new form. In no other version, however, is the description of John's wondrous deeds as enthralling and, with its eleven pages, as detailed as in the Trinity Apocalypse.

The Fine Art Facsimile Edition

The Trinity Apocalypse is the most magnificent specimen in a long series of English apocalypse manuscripts. This richly decorated codex with an imposing format of 432 ´ 305 mm on 62 pages is published by Faksimile Verlag Luzern in a worldwide limited fine art facsimile edition of 980 hand-numbered copies.
As in the original, each of the 71 large-format miniatures is framed with a border of resplendent gold. In the illustrations, areas of lavishly tooled gold and silver add striking highlights. The facsimile provides a perfect reproduction of this sumptuous palette with its fine nuances.
The fine art facsimile is protected by a white cover of goat leather embossed with gold, masterly executed by the bookbinder. The front and back cover is decorated with the coat of arms of the English royal family.

The Commentary as a Guide to the Manuscript

Dr. David McKitterick, Librarian at Trinity College, is editor and co-author of the commentary. Further contributions, including a translation of the Old French text, are provided by Professors Nigel Morgan, University of Oslo, Professor Ian Short, University of London and Dr. Teresa Webber, Trinity College, Cambridge.
To protect the facsimile edition, it is furnished with an acrylic slip case.

The documentation portfolio contains four facsimile pages in the original format and a 16-page illustrated brochure. This portfolio is provided upon request.